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August: Martin Krammer
September: Transported. Bodies of work by Gay Summer Rick, Danielle Eubank, Tatiana Botton and Susie Loucks
October: Michelle Kingdom
November: Jim Holyoak
Late November: Ted Gall
February 2017: Sea of Art
Building Bridges Art Exchange (BBAX) is a non-profit (501) (C3) contemporary art organization. Our mission is to help cultivate cultural understanding through the arts. We work to engage local communities and contemporary artists across the globe by facilitating workshops, educational programs, international art exchanges and artist residencies. We work in partnership with museums, galleries, Ministries of Culture, cultural art centers, art organizations and foundations from around the world—at present over 27 countries
Join us at
BUILDING BRIDGES ART EXCHANGE
With the support of
Farhang Foundation & University of Baja California
On SEPTEMBER 8th @ 7:30 pm
to experience the collaboration with the artists in residence (current exhibition)
BUILDING BRIDGES ART EXCHANGE
2525 Michigan Ave, Unit F2, Santa Monica
Focusing on museum quality installations showcasing emerging artists, Copro also exhibits many established and master painters. Placing works in museums and private collections throughout the world, Copro strives to assist collectors new and experienced in building the most exciting collections possible.
right left with heels by Sebastian Majewski
July 8—August 14, 2016 / Fridays, Saturdays @ 8:00pm; Sundays @ 3pm
Box Office: 310-453-9939 or purchase tickets online: http://www.brownpapertickets.com/event/2565538
right left with heels recounts the story of the Holocaust and post-war Poland from the ironic perspective of a pair of high heel shoes that once belonged to Magda Goebbels, wife of Nazi Germany’s Minister of Propaganda. The shoes, who may have inherited her racist point of view, tell their own story: from their manufacture in Auschwitz to their tragic end on the feet of a transvestite murdered by contemporary Polish “patriots.” Magda Goebbel’s wandering shoes provide a poignant and provocative insight into individual guilt and wickedness, and addresses accountability in the face of history from the end of WW II to today’s frightening rise of the new right.
Opening Weekend Q&As with playwright Sebastian Majewski:
Polish scholar and journalist Eva Sobolevski will moderate a post-performance discussion with Sebastian Majewski after each of the first three performances (July 8, 9, 10).
There will be an additional discussion with cast and crew Sunday, July 31 after the 3:00pm performance.
Visit www.citygarage.org/ for more information.
Paint is a Thing
A group exhibition featuring seven contemporary artists who use paint to create both an object and an illusionistic space. Curated by Beth Parker.
July 9 - August 20, 2016
Reception: Saturday, July 9, 5-7pm
July 30 - August 27, 2016
Opening Reception: Saturday, July 30, 6pm - 8pm
The Los Angeles Center of Photography showcases our supporting Members' work with an annual exhibition of selected work.
The Juror: January Parkos Arnall is an interdisciplinary scholar and curator expert in photographic practice, theory and history, and grounded in modern and contemporary art movements in the United States. January is currently utilizing her comprehensive education in cultural studies and visual theory in her position within the curatorial department of the Hammer Museum in Los Angeles focusing on Public Engagement.
Exhibiting Artist: Ali LeRoi, Amy Kanka Valadarsky, Andy House, Anne-Laure Autin, Barbara Ruffini, Bonnie Blake, Carl Shubs, Carl Volpe, Caryl Lightfoot, Cassandra Plavoukos, Christopher Sheils, Daniel C. Daugherty, Deborah Arlook, Desiree Richardson, Dotan Saguy, Eric Lassiter, Eric Politzer, France Leclerc, Francis Woods, Gay Ribisi, George Grubb, Gerhard Clausing, Hal Myers, Hanna Sliz, Izumi Tanaka, J.K. Lavin, James Kao, Jane Green, Jerry Weber, Jim Starks, Jr., Jonas Yip, Karen Hymer, Kevin Weinstein, Linda Alterwitz, Lori Pond, Lou Balicki, Louis Kravitz, Mae Koo, Marcela Angeles Macedo, Marian Crostic, Matthew Denman, Maureen Haldeman, Melissa Dagodag, Merrill Anderson, Nancy Kaye, Nancy Lehrer, Norman Schwartz, Paul Ivanushka, Paula Gibson, Rafal Maleszyk, Richard O'Neill, Sebastian Spader, Stephanie Sydney, Steven Adams, Tama Baldwin, Tami Bahat and Victoria Sebanz.
Photo by LACP Member Ali LeRoi
July 6, 2016 - September 3, 2016
Reception: Saturday, July 9th, 6pm to 8pm
According to the New York Times, "Edouard Boubat (1923 - 1999) was one of France's most celebrated postwar photographers."
Boubat's lyrical and poetic images embraced his attraction to the beauty of life. His work is rich with tenderness and emotion, offering glimpses of elegance and style.
Born in Paris in 1923, Boubat was invited to exhibit with well-known photographers at the time Robert Doisneau and Brassai in 1951. In 1952 he was hired by the successful photography magazine Realites as a staff photographer.
His work has been collected and exhibited widely - at the Metropolitan Museum of Art, San Franciso Museum of Modern Art, Musee d'Art Modern, Bibliotheque National Paris, Maison Europeenne de la Photographie, Centre Georges Pompidou among other institutions.
The photographs offered and on display are signed prints from the private collection of Bernard Boubat, the son of the artist.
Gallery Artists on view through September 3.
Special summer hours:
Wednesday through Saturday, 12 to 4 PM.
Rufino Tamayo selected prints
August 5 - September 2017
Suite E2, Tuesday - Saturday 11 - 6 PM
Mexican master Rufino Tamayo is regarded as one of the most important painters of twentieth century Latin America. Tamayo was also an extraordinary graphic artist. Between 1925 and his death in 1991, he produced over 350 graphic works. Tamayo's greatest period of graphic production, many would argue his most important, began in the mid 1970's. During this period, Tamayo discovered new techniques with which to convey the expressive power of texture and color. Over the next two decades, Tamayo produced many of his finest graphic works. These works form the body of the current exhibition.
The exhibition showcases over fifteen examples of Tamayo's original graphic work including rare lithographs, mixed-media etchings, and hand-colored Mixographs. Among the highlights are the rarely seen Galaxia, 1977, a lyrical exploration of the night sky. Another rarely seen graphic, Man with a Pipe, 1979, Tamayo creates a brilliant profile of a man in red, set against a background that evokes burned charcoal. In addition to an array of inventive figurative works, the exhibition includes several examples of Tamayo's iconic watermelons and a monumental hand-colored still life, Fruit Bowl with Apples, 1980.
July 26-Oct 29
Group Exhibition Featuring Artists Cara Barer, Heather Carisch, James Lecce, Katherine Tzu-Lan Mann, Maureen McQuillan, Kristina Quinones, Randall Stoltzfus
SPECTRUM brings together seven artists from across the country with vastly different practices, who are united by their intrepid handling of color as an evocative agent of expression.
Visit LILLA BELLO in Bergamot Station. Fresh, daily florals, event and wedding styling, and a specially curated lifestyle shop await in F1b
July 16th, 2016 – September 4th, 2016
Opening reception Saturday, July 16th, 6-9pm
Coan incorporates taxidermy into dreamlike life-size dioramas, challenging how we think about our relationship with the natural world; “what wildness means, what scares us, what makes our hearts sing”. Taking cues from the classic taxidermy houses of Paris, Coan uses her skills as an artist to bring the exotic into the everyday. Catherine explores the relationship between nature and humanity by creating taxidermy hybrid animals, which brings together animals that might not naturally encounter one another in nature and mankind’s history of experimenting on animals, genetic engineering, and animal cloning. Coan places them into her life-size maquette, which is constructed months before installation, using wallpaper, painted antique furniture, altered and framed prints, and mounts. Catherine decides compositions intuitively, usually by the position of the taxidermic bodies in the diorama, or by hair pattern, and how they will fit into their surroundings. She then edits and corrects until she is satisfied with the piece’s appearance.
July 16th, 2016 – September 4th, 2016
Opening reception Saturday, July 16th, 6-9pm
In this series Hill drew inspiration from the 15th century Flemish renaissance style portraiture while incorporating the contemporary subject matter creating a contrasting vision of the modern world.
Inspiration came from a love of the fashions captured in the tradition of 15th century portraiture and the aesthetic created by the rich fabrics and elaborate dresses. Finding modern fashions to capture the same impact Hill drew from the sub culture movements, such as punk and bohemian.
Hill begins with an original master portrait which is manipulated digitally to create the structure for her piece. She then uses a model to provide the modern fashion references often having her subject hold an object. Unlike the master works which used the objects held as status symbols, Amy choses objects that relate more to the materialistic nature of our modern culture. Once the image has been constructed digitally, a combination of the original works and her photographed model, she paints the image in oil on wood board. By constructing images in such a way hill has fabricated a fictional subject but through the decoration and attire she maintains the sense of authenticity and familiarity.
In this collection, Hill has utilized the aesthetic of both the classical and the modern in a format that compels the viewer to contrast contemporary and traditional notions of status and beauty.
Amy Hill graduated from Carnegie Melon in graphic design. She lives and works in New York City, New York. Her work has appeared in galleries in New York and across the country.
"OUTSIDE IN II"
July 16th, 2016 – September 4th, 2016
Opening reception Saturday, July 16th, 6-9pm
Kho works iteratively and intuitively, where an initial idea is brought to light through the process. Digital and analog media are melded together to create unique window paintings. Phil’s process starts with the window being constructed from wood. Next Kho collects digital images from the internet, then further combines and manipulates them in Photoshop. This digital image is then printed onto canvas. Lastly Phil intuitively chooses which areas to paint over. This layering process illustrates Kho’s big picture of acknowledging time and place. In this continuation from the previous show, Kho captures different facets of life, whether it be nature, city life, or architecture.
Inspired by varied artists from past and present such as architect Frank Gehry to the more interdisciplinary artist Bruce Nauman, Kho’s use of mixed media calls to mind our culture’s image saturated world. The usage of the window as a framing device brings to attention the duality of inside and outside. The vibrant color palette of his work emphasizes the vividness of our world. These recent works display a further exploration of the previous themes Kho has been invested in
In a world where people are digitally connected to each other, it is adversely true that people are more isolated and alone. Kho’s work invites the audience to examine the expansiveness of our environment and to connect with that enriching history and culture.
PHIL KHO received his BA in visual communication at Hongik University in Seoul, Korea; his MFA in graphic design from California State University, Los Angeles; and his MS in visual communication at Pratt School of Art and Design in New York. He spent eight years as a professor of design in the fine arts department at the University of Suwon in Seoul. Kho has been an urban designer for over 20 years and an artist for over 50 years. He has written 10 books and dozens of articles on urban design.
Lora Schlesinger Gallery presents After Images featuring a new series of paintings by Laura Lasworth. Lasworth’s paintings are a manifestation of masterful control of color, shape and form. Each work rich in surface and content, is coded with symbolism that poignantly addresses themes of life, death and spirituality. The show opens with the artist’s reception on Saturday, July 30th from 5:00 – 7:00 pm.
Lasworth is known for her sophisticated use of religious, philosophical and personal symbolism. Her work recalls classical allegory and medieval iconography. She extracts subjects from text, bridging the familiar with the sacred, creating images that are mysterious and otherworldly. Since 2001, her method has resembled that of a long-form writer. In her elaborate cycles of paintings, each panel functions as a chapter. Through the paintings a narrative slowly emerges, coaxing a careful reading. Lasworth’s images echo scripture and sacred history, yet they refrain from didacticism and literalism. Instead her paintings exhibit a respectful melancholy, as if they must span unbridgeable distances. The result is not a sense of futility, but of hope and impending miracle.
Laura Lasworth received her Bachelor of Fine Arts Degree from the Art Institute of Chicago and her Masters of Fine Arts from the California Institute of the Arts. Her paintings have been exhibited nationally in numerous solo and group shows that have been featured in the publications Art in America, Artforum, the Los Angeles Times and IMAGE Journal.
Lora Schlesinger Gallery presents Flowers from Mars, a series of small-scaled paintings by Laurel Bustamante. Like Persian miniatures, Bustamante’s paintings are elaborate and enticing. Flowers from Mars combines carefully painted human-interpreted flora with otherworldly environments. The environments are constructed with washes of gouache and acrylic paint to create ethereal and atmospheric settings, where microscopic gardens float and flourish. Laurel finds abstraction to be more poetic in expressing nature than realism. Researching botanical motifs found in history is an important part of her process. By combining and contrasting highly rendered flora within atmospheric and abstract settings, she is exploring the schism in the human brain between our delight in nature and our global inability to maintain it. Each painting develops organically without a predetermined plan. The contrast between vaporous washes and tiny brushwork is extreme and requires a slow, contemplative process.
Laurel Bustamante received her Bachelor of Fine Arts from Southern Oregon University, Summa Cum Laude. In 2013, she was the finalist for the Portland Art Museum Contemporary Northwest Art Awards, in Portland Oregon. She was awarded the Crater Lake National Park Artist Residency in 2001 and the Artist on Location Project in Antilles, Netherlands in 2000.
Extended Until Saturday, August 27th.
John Newsom and Rinus Van De Velde @ Patrick Painter, Inc.
Patrick Painter is pleased to announce the extension of John Newsom and Rinus Van De Veldes' Group Show. The show features large-scale works by the artists; Including Newsom’s, newly shown, “Courtly Gestures”, an Oil on Canvas (119 x 103 inches) piece.
Richard Heller Gallery is proud to announce an exhibition of new paintings by Amy Bennett. Small Changes Every Day will open on September 10, 2016, and will remain on view through October 15, 2016. A public reception for the artist, who will be in California for this event, will be held at the gallery on September 10 from 5:00 to 7:00 p.m. This exhibition marks Bennett's third solo exhibition at Richard Heller Gallery.
Bennett’s dreamlike scenes depict a miniaturized world playing at reality.
The artist designs and paints from miniature 3D models, allowing her total creative control of the scenes she imagines. She is able to manipulate composition, light, and vantage point, often in an attempt to simulate the inadequacies of memory, dreams, and the imagination.
As an evolving still life for her new paintings, Bennett built a diorama of a fictional rural landscape and gradually developed it into farmland and ultimately, a town. Citing inspiration from an altered perception of time after having a baby, a move upstate from New York City to the Hudson Valley, Google Earth images of towns, and old city maps, Bennett has spent nearly four years creating her most recent series.
Beginning with an 8-foot square of styrofoam, Bennett carved mountains, valleys, rivers and ponds, and propagated a verdant fake landscape with hundreds of wire and foam trees. She fabricated over 450 wooden buildings in 1/500 scale (similar to the size of a Monopoly hotel): houses, garages, commercial buildings, storefronts, and schools and painted each by hand. The tiny structures gradually populated her artificial town. She then mapped the complete village and stages of development over time, documenting the changes in her model through a series of paintings and monotypes beginning with landscape paintings.
Bennett allowed the textures of transparent or partially mixed paint to mimic the natural wildness of the landscape. Bit by bit more order became imposed as property lines emerged and tidy rows of planted farmland developed. Her handling of the paint became more precise as a pond became a grocery store and parking lot; a farmhouse became a school complex; an old house sitting at an odd angle stubbornly remained as the town built up around it.
Bennett’s new paintings invite the viewer to consider shifting relationships to our surroundings over the course of time, and offer an eerie reminder of the persistence of change and the impermanence of everything.
“Amy Bennett has developed another way to suggest the flow of time within the static medium of painting. Her mechanism is the creation of painstakingly detailed miniature models of the worlds that her paintings bring to life. The creation and gradual alterations of these models allow Bennett to indulge a novelistic sensibility as she imagines various scenarios and interrelationships and realizes them in her paintings.
There is something quintessentially American in Bennett’s focus on the complicated dance between privacy and exposure and in the tension between an individualism rooted in the nuclear family and the snares and attractions of community. The settings she selects are precisely those in which the American ideals of freedom and security clash. And the primacy that she gives to nature in so many of these works also reflects the American dream of nature tamed and improved—the promise of the new Eden that is so much a part of American mythology.”
- Eleanor Heartney, from her essay Amy Bennett: Painting Time.
Small Changes Every Day at Richard Heller Gallery in Santa Monica, California, will run concurrently with an exhibition of other paintings from Bennett's most recent series in Time Speeds Up at Ameringer McEnery Yohe in New York. Black Dog Publishing has just released a monograph of the artist’s work entitled Amy Bennett: Small Changes Every Day.
AMY BENNETT (b. 1977 in Portland, ME) received her Bachelor of Fine Arts degree in 1999 from the University of Hartford, CT and her Master of Fine Arts degree in 2002 from the New York Academy of Art.
Bennett has had numerous solo exhibitions nationally and internationally, including Galleri Magnus Karlsson, Stockholm, Sweden; Tomio Koyama Gallery, Tokyo, Japan; Richard Heller Gallery, Santa Monica, CA; and Permanent Mosaic Installation, 86th Street & 4th Avenue Brooklyn Subway Station, MTA Arts for Transit, Brooklyn, NY.
Recent group exhibitions include Southampton Art Center, Southampton, NY; Smack Mellon, Brooklyn, NY; LeRoy Neiman Gallery, Columbia University, New York, NY; Galleri Magnus Karlsson, Stockholm, Sweden; Richard Heller Gallery, Santa Monica, CA; Metropolitan Museum of Art, New York, NY; MUba Eugene Leroy, Tourcoing, France; Galleri Magnus Karlsson at Frieze Art Fair, London, England; Museum of Arts & Design, New York, NY; American Academy of Arts & Letters, New York, NY; Tomio Koyama Gallery at Art Basel, Basel, Switzerland; Tomio Koyama Gallery at Art Fair Tokyo, Tokyo, Japan; Richard Heller Gallery at The Armory Show, New York, NY; Kumukum Gallery, New York, NY; and Hudson Valley Center for Contemporary Art, Peekskill, NY.
Bennett is the recipient of the John Simon Guggenheim Memorial Foundation Fellowship (Fine Arts); Pollock-Krasner Foundation Grant; Rosenthal Family Foundation Award in Painting; American Academy of Arts & Letters Purchase Award; New York Foundation for the Arts Fellowship; Marie Walsh Sharpe Studio Program 2010-11; New York Foundation for the Arts/ Deutsche Bank Fellowship; Smack Mellon Studio Program; Elizabeth Greenshields Foundation Grant; Prince of Wales Scholarship to Normandy; New York Academy of Art Research Fellowship; Felicia C. Miller Award for Artistic Excellence; and the Barbara Podorowsky Memorial Award for Excellence in Painting.
Bennett lives in Cold Spring, NY and works in Beacon, NY.
WE ARE NOT ALONE
Artist Talk : Saturday July 30th
Opening Reception : Saturday July 30th 5-8pm
Exhibition : July 30th - August 27, 2016
The Photographic Arts Council · Los Angeles is pleased to announce COLLECTORS’ FAVORITES, a special exhibition of photographs on loan from private collections of members of PAC · LA, hosted by ROSEGALLERY. A private opening will take place on Saturday, August 20, 6 - 8 p.m.
On view will be over 70 artworks, ranging from early photographs to works of the present day. This year’s Collectors’ Favorites exhibition features such masters as Robert Frank, Irving Penn, Imogen Cunningham and Edward Weston, as well as new and vintage works by artists championed by PAC · LA collectors. You’ll see works by Lee Friedlander, Augusta Wood, Mary Ellen Mark, Torbjøn Rødland, Nick Waplington, Clarence Sinclair Bull, Dulce Pinzón, Rinko Kawauchi, Margaret Bourke-White, and dozens more.
COLLECTORS’ FAVORITES reflects the diverse passions and interests of PAC · LA’s members, counting among their ranks many leading California photography collectors and those interested in learning more about photography. The prints on display will be accompanied by brief statements from the collectors, explaining their thoughts about their selections and reasons for exhibiting these specific photographs.
Now in its fourth year as an independent group, the Photographic Arts Council · Los Angeles was founded to foster individual and community-wide knowledge and appreciation of the Photographic Arts. Throughout the year, PAC · LA members are invited to special collection and artists' studio visits, take part in educational programming, are offered private curator-led walkthroughs, as well as travel opportunities outside Los Angeles.
Tony Beauvy Paintings
uly 30 – September 3, 2016
Ruth Bachofner Gallery is pleased to present an exhibition of paintings by Tony Beauvy. There will be a reception for the artist Saturday, July 30, 5-7 PM
Tony Beauvy is a Los Angeles-based painter who received his M.F.A. from UCLA. The exhibition brings together a series of abstract paintings that Beauvy achieves by working out of the unconscious. His improvisational practice is as much about breaking down the surface as it is building it up. The large scale of the paintings creates environments that echo a particular sense of glowing grittiness inspired by the artist's surroundings. Beauvy grew up in Los Angeles and like in his youth, his time is split between his home in Echo Park, an industrial studio space and surfing along the coast. The combination of his buoyant, luminous palette and roughly hewn surfaces reverberates with the layered paradoxes of the city as he experiences it.
For Beauvy, resolution is achieved in the undetermined spaces of his paintings. He engages in scraping, pouring, and sanding which move the paintings toward a balance of refinement and roughness. Fibrous drips of Iridescent paint glows through more opaque fields and offers a series of contrasts that range from weathered to refined. The sense of abandonment and dissolving within the flowing areas of paint embrace the unknowable, which is where Beauvy sees the paintings reaching their highest potential. This interceding space, where the image dematerializes, yet holds interest has the most possibility and interest for both viewers and the artist.
“My paintings are born out of process and practice, addition and subtraction,” the artist states. I want to push the painting almost to its failure point – the point at which it is exhausted is where I find the most possibility. In my paintings, a sense of place appears and disappears. A constant unearthing of surface creates a geography that is not concrete, rather flexible.”
Gary Edward Blum - The Silence Around You
July 30 – September 3, 2016
Ruth Bachofner Gallery is pleased to present an exhibition of new paintings by San Francisco-based artist Gary Edward Blum. There will be a reception for the artist Saturday, July 30, 5-7 PM.
In this new body of work, Gary Edward Blum continues his exploration of balance and dependent opposition. Utilizing a mixture of realism and minimalist abstraction, Blum creates a narrative between pictorial reality, artistic process and formal composition. The result is at once playful in its practice but earnest in execution.
Blum structures paintings around a series of grids that set into play a discourse between formal process and personal narrative. His gritty, buff backgrounds provide an architectonic framework for found objects that are at once still life, autobiographical record and instigators of compositional tension and examination. Paint swatch cards are rendered using trompe l'oeil, as is the painted tape holding the cards in place. Other 'incidental markings' such as more paint swatches, finger prints, and daubs of paint are carefully placed on the gridded fields comprised of hard edge linework and opaque quadrants of color. The seemingly casual, pin-board placement of objects are in reality carefully considered and strategically placed by Blum. These items are at once indicators of the artist's creative process and formal elements in the painting.
“The use of trompe l’oeil challenges the distinction between art and life and sheds light on the way in which representation is translated from experience,” Blum states. “Like miniature paintings, these tangible bits of paper often mimic the abstract passages and gridded backgrounds found in the composition. By employing divergent styles to create a picture within a picture, my hope is that the viewer comes away from my work with the understanding that oppositions can exist harmoniously in the same space.”
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Lift Me Up So I Can See Better
July 09-September 03, 2016
Opening Preview July 09th 5-7pm
Shoshana Wayne Gallery is pleased to present Lift Me Up So I Can See Better by Shirley Tse featuring over thirty new sculptures and a hand-made collaborative book. This is the Los Angeles based artist’s fifth solo exhibition with the gallery. The exhibition will be on view July 09 through September 03, 2016, with an opening preview on Saturday, July 9th from 5-7pm.
Taking Oscar Wilde’s 1888 book “The Happy Prince and Other Tales” as her point of departure, Tse’s new body of work evokes the form of eyeballs as her sculptures address both seeing and the position from which one sees. As an adult re-reading this story, Tse was struck by the Prince’s ability to see “all the ugliness and misery of [his] city” once he was set up high on a column outside the walls of his Palace. Tse perceives Wilde’s parable as particularly prescient of our socio-economic climate, where gaps between classes and cultures are widening at an alarming rate. Analogous to Wilde’s townspeople, who were gifted the Prince’s sapphire eyes and rubies from his sword, Tse received an unexpected gift of blown glass remnants from the Estate of Miriam Wosk, a recently deceased artist. Contemplating the possibility that generosity may flow if one is able to see from a different vantage point, Tse utilizes the gestures of ascending, reaching and telescoping with the incorporation of C-stands, boom microphone stands, tripods, and stadium bleachers throughout the exhibition. Seeking a broader perspective also suggests the possibility of turning passive spectatorship into active spectatorship. Various colors of glass chunks housed in different materials exhibit themselves as heterogeneous sculptures hovering between the figurative and the abstract, the found objects and the imagined forms, the literal and the metaphorical.
“J....” a limited edition hand-made artist book, is exhibited for the first time in the West Gallery. At the invitation of Gervais Jassaud, Tse collaborated with French writer Michel Butor whereby she
produced a visual response to Butor’s poem, “J….” In Tse’s words, “I usually work with sculpture and installation. The prospect of making “work on paper” was liberating for me. Literally, textually and metaphorically, Butor’s words provide the architecture for these sculptural explorations on paper. I want to honor the sense of place, the richness of texture, and the obliqueness in “J….” My artwork may not be congruent with the mental images evoked by the words. When the reader/viewer negotiates between the two modes of experience, it is where richness resides.”
For more than twenty years, Tse has dedicated her practice to visualizing heterogeneity through sculpture, installation, photography, and text. From multiplicity of difference on the same plane, to negotiation of an integrated whole, strategies are as various as putting competing aesthetics under the same roof, examining the semiotics of plastics, expanding the language of movement, using found objects as suspension of subjectivity, researching concurrent narratives, conflating scales, destabilizing categories and calling attention to the interstitial.
Shirley Tse has exhibited extensively at venues in the United States and abroad including, the House of World Cultures, Berlin, Germany; the Herbert F. Johnson Museum of Art, Cornell University, NY; The Art Gallery of Ontario, Canada; the Wexner Center for the Arts, OH; The Biennale Ceara America, Brazil; MoMA P.S.1, NY; The New Museum, NY; The Biennale of Sydney, Australia; The Weatherspoon Art Museum, NC; and the San Francisco Museum of Modern Art amongst many others. Tse
has been the recipient of prestigious grants and awards such as the California Community Foundation Fellowship for Visual Artists (2012) and the John Simon Guggenheim Memorial Foundation fellowship (2009). Tse lives and works in Los Angeles.
For more information contact Alana Parpal firstname.lastname@example.org
Gallery hours are Tuesday though Friday 10am to 6pm, and Saturday 11am to 5:30pm.
July 09 - July 30, 2016
SLOAN PROJECTS is pleased to present WORK / W=Fd, a multimedia installation by Isabelle Harada. On view July 9 - July 30th, 2016. A reception for the artist will be held Saturday, July 9 from 5-7pm. This is the artist’s first solo show with the gallery.
Isabelle Harada’s WORK / W=Fd consists of 999 golden paper cranes suspended from the ceiling and a looped projection on a single unfolded sheet, bathed in an artificial sunset. An allusion to the Japanese tradition of the origami crane and its mythical origin, the installation explores the nature of time and energy in terms of materiality and the virtual.
It is said that if one folds 1000 paper cranes, a crane will grant you a wish. Traditionally, a Japanese woman will fold 1000 cranes during her engagement, which her father presents to the groom upon their marriage. As representations of the work one should be willing to do on behalf of their partner, each crane can be seen as an object that encapsulates a specific amount of time and energy: they take approximately 10 minutes to fold and each requires the same series of folds and “force” to complete.
In the aftermath and deconstruction of her engagement to be married, the artist found that there were two different concepts of how to put work into a relationship: material and virtual. During the conflation of the two - the virtual work had potential to circumvent the actualized and vice versa. The weight of the unfolded sheet is indicative of this critically distracting moment.
In his book, In Praise of Shadow, Junichiro Tanizaki writes about how the traditional Japanese aesthetic works within the constraints of the physical world - specifically with regard to light and shadow. The gold foil in lacquerware is supposed to be viewed by candlelight, emerging from darkness while dinner is being served. Tanizaki comments that to see them in harsh, artificial light, cheapens their experience, making them less appreciable in western cultures that light their world without finding beauty in darkness. Working with the refractive behavior of photons, the Japanese traditionally lighted some of their rooms according to sunrise and sunset by putting windows at the tops and bottoms of walls to capture the differences in hues.
Harada’s installation plays with these aesthetic concerns through the framework of personal and historical narrative, shining a spotlight on incongruities that appear during the construction of visual metaphor. Presenting the dichotomies of energy/production/material vs. potential/strategy/virtual, the artist illuminates the spectral nature of such convenient categorization and refocuses on moments of overlap.
ISABELLE HARADA (b. 1992 Cambridge, MA) is an installation artist based in Los Angeles. She earned her BFA in Animated Arts from the Pacific Northwest College of Art, and is currently an MFA candidate in Art & Technology at the California Institute of the Arts, Valencia, CA. Harada’s work centers on virtual and physical identities and incorporates sculptural, projected, and sonic elements.
July 12th– August 6th
Suki Kuss – When Women Were Birds
Camey McGilvray - Mad As Hell
Daggi Wallace - Wende/Transformation
Opening Reception: Saturday, July 16th, 2016 from 5-8PM
Artist Panel: Saturday, July 30th, 2016, 3pm
Suki Kuss – When Women Were Birds
In her latest exhibition, entitled When Women Were Birds, artist Suki Kuss continues her exploration of space and balance. After careful navigation, her artistic pilgrimage has led her to the world of femmage, a conflation of textile art and painting, pioneered by Picasso in 1912. The genre has transformed into an idiom of female empowerment, designed to confront sexist thought while dignifying and empowering women artists.
Using elements of embroidery, vintage laces, sheet music, fabric and dress patterns, Kuss utilizes a grid format to draw focus and allure to her abstracted “quilts.” Scholars believe that femmage was first used to advance the origin of collage as women’s work, i.e. “quilting and patching together, however, Kuss has developed her own interpretation of the craft.
Implementing traditional feminine pieces and textures throughout her collages and artworks, When Women Were Birds acts as a stark response to the patriarchal history of art. Although Kuss’ subdued palette differs from the bold colors of the original femmage work, there is an added element of contemplative quietude that reflects the delicate touch of a woman’s hand. Symbols of traditional male power are subverted for the feminine and delicate. And yet, Kuss’ work illustrates that the delicate, can be, and is in fact, powerful
Camey McGilvray – Mad As Hell
The title of artist Camey McGilvray’s newest exhibition, MAD AS HELL, comes from a legendary call to arms: In the iconic film Network from the ‘70s. TV commentator Howard Beale tells his audience, “All I know is first you’ve got to get mad.” He asks the viewer to get up right now, go over to the window, open it, stick your head out and yell, “I’M MAD AS HELL AND I’M NOT GOING TO TAKE IT ANYMORE!”
McGilvray senses the palpable anger in America today, much of it directed toward our representatives in Washington. “People from all segments of society and both ends of the political spectrum have reached the anger stage. They are fed up and are demanding change for the better from our elected officials.” In her artwork, McGilvray targets these culprits, whom she sees as over-promising and under-delivering.
The look of the show is bold and striking. All pieces are aluminum and only one other color, black, is used in each of the vividly described scenes. Crows are used to advance the narrative and when they speak, they do so in grawlix. “I love crows.” Says McGilvray. “They are mysterious and magnificent and can portray every emotion.”
McGilvray sees our elected officials in Washington as mostly a bunch of entrenched old crows sitting around talking past one another and that is the way she has depicted them in her artwork. “They care more about power and getting reelected and are more responsive and beholden to lobbyists than they are to their own constituents. They need to know that We the People are MAD AS HELL and we’re not going to take it anymore!”
Daggi Wallace – Wende/Transformation
Artist Daggi Wallace’s debut exhibition at TAG Gallery explores her keen interest in portraying the human condition and our sublime connection to one another, our similarities, and the common struggles and joys we all share. In “Wende/Transformation” Wallace has created detailed, yet striking imagery that pushes the boundaries of realism while simultaneously peeling back the layers of her own personal journey of self-discovery to draw in the viewer and elicit a strong emotional response.
This exhibition examines the endless contradiction and effects of the walls behind which we often find ourselves. They are real and physical, imagined and psychological. They make visible one’s fears, anxieties and insecurities. They separate and yet offer a common purpose. They divide us yet invite us to scale them and tear them down, to come together again. They offer comfort, though false, yet feed hate and fear. They isolate and protect. Walls keep people out AND in. They shelter us and yet make us want to break free. They repel and tempt. They control and we rebel. They are a prison and a freedom. We can choose to erect them or tear them down.
For nearly 30 years, William A. Karges Fine Art has been the preeminent art dealer specializing in early California and American paintings. With galleries in Carmel and Santa Monica, Karges Fine Art carries one of the most varied, high-quality, historically significant inventories of paintings available on the West Coast.
Curtis Ripley: A Poem About Breathing
August 6 - September 17, 2016
The William Turner Gallery is pleased to present A Poem About Breathing: New Paintings, an exhibition of recent work by Los Angeles based artist, Curtis Ripley.
Curtis Ripley’s newest abstractions are sublime musings on expression itself. Concerned with capturing those phenomena which are most difficult to describe with words, Ripley’s paintings are gestural and impromptu meditations on mood, emotion and experience.
In this new series, Ripley titles his paintings as “Sonnets” and “Sonatas”, directly referencing the structures of music and poetry. Treating each painting as a spontaneous composition, Ripley’s brushstrokes flick across the subtle atmospheric grounds like colorful syllables in a poem or notes in a song. These lyrical marks seem to float on top of the surface, glowing with energy. This interplay between surface imagery and atmospheric background is reminiscent of the works of Surrealist painter, Joan Miro, who, like Ripley, was interested in the parallels between poetry, music and painting, remarking that “I try to apply colors like words that shape poems, like notes that shape music.”
The avant-garde American composer (and contemporary of Miro) John Cage, also comes to mind when viewing Ripley’s rhapsodic paintings. Cage pioneered interdeterminacy - a movement in music in which aspects of a musical work are left open to chance. To Cage, “a 'mistake' is beside the point, for once anything happens it authentically is,” and this same philosophy could be argued for Ripley’s work. Ripley relinquishes the need for absolute control, embracing the unforeseen and unexpected. He is not afraid to wipe out and begin again, his paintings show the marks of their creation - splatters, smudges and drips are allowed to live on the surface, serving as markers of the artist’s path. Ripley’s artistic pursuit is to visually chronicle those fleeting moments that add up to a lifetime, inviting the viewer to join in on the journey.
This show marks Curtis Ripley’s seventh solo exhibition with William Turner Gallery. Curtis Ripley was born in Lubbock, Texas in 1949. He currently lives and works in Los Angeles.
Koji Takei: Idiosyncrasy
August 6 - September 17, 2016
William Turner Gallery is pleased to present Idiosyncrasy, an exhibition of new sculptures by Los Angeles based artist, Koji Takei.
Creating sculptures of exquisite peculiarity is an art in which Takei excels. His elegantly crafted works embody the notion of the whimsical, contradictory and idiosyncratic. There is an immediately detectable sense of humor and quick wit about the sculptures in this exhibition. Beyond playfulness, however, Takei’s aim is to challenge the viewer to alter the way in which they look at reality.
Taking cues from the Surrealists of the early 20th century, Takei transforms the mundane into the fantastic - and sometimes absurd. His work is a constant inquiry into the meaning of functionality and the perception of purpose. Much like Man Ray’s iconic readymade sculpture, The Gift (1921), and Meret Oppenheim’s infamous fur-covered teacup (Object, 1936), Takei recontextualizes those pragmatic objects that we immediately recognize. With his piece Soft Shoulders (2011), Takei deconstructs a wooden clothes hanger into small pieces that are linked together like a necklace. He has obliterated its essential utility and in the process has created an entirely new object with new meaning and ultimately a new purpose.
In Takei’s hands, seemingly utilitarian objects are rendered useless, but are arguably made more beautiful - transformed from the quotidian to the extraordinary. For instance, inspired by watching the dramatic motions of a violinist playing in concert, Takei has taken a vine and twisted it into a delicate spiral, adding the frog, end cap and horsehair from a traditional bow to create A Thousand Strokes, (2015). The title itself is a double entendre - at once referring to the motion of playing an instrument and also to a cheeky Japanese slang. By altering the forms of these familiar objects, Takei imbues them with new meaning. Using clever, tongue-in-cheek titles, Takei in many instances personifies them, projecting our own attributes onto those ordinary, inanimate things that we utilize every day.
Koji Takei was born in Japan and currently lives and works in Los Angeles. He received his BFA from CalArts and has taught at Otis College of Art and Design, California Institute of the Arts and currently, Art Center College of Design. His works have been exhibited in a number of museums including the Laguna Art Museum and the Japanese American National Museum in Los Angeles. This marks his sixth solo exhibition at William Turner Gallery.